way he has of dealing with them. He
catches the eye and appeals to the mind
by a truly remarkable accuracy in detail, a
sense of nature and life, and a great power
of observation, while the feeling he arouses
is frequently one of generous sympathy
and respect. Unlike Forain, he is never
cynical, mordant, or cruel, nor is he a
caricaturist, like Caran d'Ache. Briefly,
he is human, and this is the word which,
I think, best describes him. And from
this very humanity springs the great suc-
cess his productions have achieved.

It may be objected that the society he
depicts is very limited in range, being,
confined to the poor, the beggars, and the
vagabonds, the types of the poverty-
stricken outskirts. But such objection
will not hold good. What, alas, is more
general, more universal than this poverty ?'
and what a world of characters and sor-
rowful, typical scenes it affords the
draughtsman's pencil ! Everything is.
genuine in this sad world of his. The
conventions of society, the codes of cant
and snobbisme are nothing to the men and
women he shows us. They at least wear
no masks; there is no hypocrisy in these
poor, suffering creatures ; and, with all
their animalism, they are none the less-
our brothers and our sisters, our equals,,
whether looked at from the human or the
divine standpoint. Their wretchedness,
their crimes, their degradation, may fill us
with repugnance, perhaps; but there is
no denying they offer the artist a vast
field of study, and one cannot but feel
TEIXLEN AS A LITHO interested in it all. At times these figures stand